The image-baroque. Introduction to the cinema of Andrés di Tella

Abstract:

This article focuses on the study of the creation tactics of the Argentine documentary filmmaker Andrés Di Tella. These tactics have in common the deviant reading of visual archives adopting elements of collage, ready-made and found footage. The methodology proposed establishes the processes of inter-breeding and hybridization of Latin American and European Baroque as a frame of reference in order to determine the modes of folding and synthesis that operate in his films. Thus, the results of this research reveal how the tactics of each Di Tella film - the reconstruction of the reconstruction in Reconstruyen crimen de la modelo (1990), the history of history in Montoneros, una historia (1995), the art of the art in Macedonio Fernández (1995), the image of the no image in La televisión y yo (2002), the otherness of the self in Fotografías (2007), the file of the file in El país del diablo (2008), all the images in Hachazos (2011), and all the words in 327 cuadernos (2015) - are constructed from a plurality of appropriation and recontextualization strategies that reveal a multiplicity of ways to express what we have called the image-baroque.

Año de publicación:

2021

Keywords:

• Documentary film
• Fold
• Aesthetic hybridizations
• Audiovisual archives
• BAROQUE

Fuente:

scopus